De Bandolim a Bandolim

The bandolim is a popular instrument in Brazil and has obtained a major position as a solo voice in choro thanks to great instrumentists in the tradition from Luperce Miranda to Jacob Bittencourt (aka Jacob do Bandolim), and on the contemporary scene the position of the bandolim is maintained and kept up to date by stellar performers like Armandinho, Hamilton de Holanda, Danilo Brito a.o.. Jacob do Bandolim is generally considered the single most important agent in favour of recognising the instrument as a solo voice, his efforts in promoting the instrument and in collecting fitting repertoire of music are of enourmous importance in the still expanding popularity of the instrument. Among the many activities of historic notice maintained by Jacob do Bandolim was his co-oporation with composer Radamés Gnattali in arranging Gnattali's suite 'Retratos' for bandolim and symphonic orchestra documented in the important historic recording of the work in 1964 featuring Jacob do Bandolim as a soloist. The recording of 'Retratos' was an example of the fact that the boundaries between popular music traditionally connected with the bandolim, notably choro, and erudite, compositional work had dissolved, however, the boundaries were never as strictly pointed out in Brasilian culture as elsewhere and especially in European tradition. The aftermath of 'Retratos' meant that choro musicians extended their repertoire to include written music from the erudite compopositional tradition of works by both Brazilians and classical composers like J.S. Bach, Vivaldi and Chopin a.o.

One of the leading figures in this movement was bandolimist Joel Nascimento (b.1937), who founded the Camerata Carioca choro ensemble early 1970'ies with guidance by Radamés Gnattali. Nascimento persuaded Gnattali to arrange his 'Retratos' suite for a choro ensemble and surprised the maestro at a party by bringing in his Camerata Carioca ensemble to perform the re-arranged work, later Gnattali participated in the arranging and recording of a homage to the music of Jacob do Bandolim by Camerata Carioca (LP,1979). The Camerata Carioca ensemble and Radamés Gnattali also had a co-work on the project devoted to music by Vivaldi and Pixinguinha (LP,1980). Since the revival of choro dawned during the 1970s it is no longer unusual to find music by erudite, classical composers mixed with traditional choro works in the repertoire of contemporary choro ensembles. The new cd shown above featuring Hamilton de Holanda and Joel Nascimento reflects this tradition by mixing works by choro icons like Nazareth, Pixinguinha and Jacob do Bandolim with compositions by J.S.Bach, Vivaldi and Beethoven in the repertoire of the disc, moreover the cd has a short piece by Radamés Gnattali documenting the importance of his music in contemporary Brasilian culture and in evolving the concept of choro containing both popular and erudite elements.

Last year Joel Nascimento and Hamilton de Holanda went into the studio to record the cd, 'De Bandolim a Bandolim', showcasing the bandolim and the tradition of mixing popular and erudite music. The result is a marvellous experiment documenting for the first time, I think, a duo recording of two bandolins in interplay without a back-up ensemble, further it is the first time Nascimento and Hamilton de Holanda have recorded together. The two musicians, however, know each other well, Hamilton was a student with Nascimento earlier, and this relation shines through and generates an intimate atmosphere in the set-up of the recording. Generally, Joel Nascimento takes the lead voice while Hamilton provides the accompaniment contributing chordal work, fill-ins and rhythmic support, but he is also given space in introducing of themes and gets a chance to show off his exceptional skills as an improviser with complete demand of his chosen instrument, the 10 string bandolim. The role of the two musicians' part in the game is not defined as a teacher-student combination as could be expected, rather it is the nature of the used instruments that defines the roles of both musicians. While Nascimento plays the conventional 8 string bandolim designed for playing lead, Hamilton's 10 string instrument provides the extended possibility of adding elaborate bass lines and complex accompaniment thanks to the two lower strings, thus, the musical possibilities of the instruments point out the appropiate set-up for interplay in the work by the duo.



The cd contains ten titles, four of which are from an erudite reperoire: 'Concerto Para Bandolim e Orquestra II Movimento' (Radamés Gnattali), 'Chorale Prelude 'Nun Komm der Heillan' Adagio' (J.S.Bach), 'Concerto Para 3 Bandolins em G II Movimento' (A.Vivaldi) with guest participation by Armandinho Macêdo to cover the three instruments score and finally 'Sonatina em C Menor' by Ludwig van Beethoven originally composed for piano and mandolin. The remaining titles cover pieces by Catulo da Paixão Cearense/Alfredo Dutra, 'Tu Passaste Por Este Jardim', a romantic theme introducing the cd. 'Gotas de Ouro' by Ernesto Nazareth, a famous waltz from the composer's book, further the choros 'Os Cinco Companheiros' by Pixinguinha and 'O Bom Filho á Casa Torna' by Bonfiglio de Oliveira. There is also a reading of the romantic yet complex 'Falta-Me Você' by Jacob do Bandolim and, surprisingly, a very lively rendition of the tango 'Por Una Cabeza' by Carlos Gardel/Alfredo Le Pere complete with rhythmic tapping on the bandolim box and elaborate improvisation of the theme by the duo. The fascinating mix of repertoire of the disc invites to repeated listening to digest the magnificent contributions by the duo, the cd is definitely designated to highlight the bandolim as a fitting instrument for chamber music of a high level and it is likely that the record may rank as the most important in the category of instrumental music released in Brazil in 2009. You have the opportunity to listen to the music in full length at Radio UOL, click picture of cd above or here to get access.
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To end this small review of 'De Bandolim a Bandolim' I'll insert a couple of video fragments featuring Joel Nascimento and Hamilton de Holanda performing together during a studio recording of the dvd-project "Ao Jacob, seus Bandolins". - The first fragment is a performance of Jacob do Bandolim's 'Alvorada', the bandolinists are accompanied by Rogério Caetano on violão 7 cordas - enjoy!



From the same studio sessions as above, here's an improvised rendition of Jacob do Bandolim's 'Noites Cariocas' - enjoy!

Jo

Solo Accordion & Choro

The accordion is a popular instrument often used in various Brazilian music styles, notably in forró and baião, but it has also been used with success in bossa nova and choro. When national radio broadcasting of live music acts started in Brazil during the 1930, the staff of musicians often had an accordionist among its members to supply solo voice and accompaniment in interplay with string instruments and reeds of the ensemble accompanying popular singers and playing choros and waltzes during intermission. Renown accordionists like Orlando Silveira, Chiquinho do Acordeon (Romeu Seibel) and Sivuca all started their career as members of a radio regional, the accompanying music ensemble used during radio transmission of live music, and the same set-up was also used by the record industry to promote popular vocalists and stars from radio. The popular choro 'Tico-tico no fubá' by Zequinha de Abreu was first recorded in 1930 by a typical regional, Orquestra Colbaz, that had an accomplished accordionist in front playing the melody, and following the world success of the tune it was soon adopted by accordionists as part of the standard repertoire. - I found an excellent solo version of 'Tico-tico no fubá' to illustrate the range of the instrument when playing choro. Enjoy Dorival Pinhata's solo accordion in 'Tico-tico no fubá'



The accordion - or as it is also named in Brazil: the sanfona - is well suited for playing solo, like the piano the accordion allows applying chord accompaniment in the left hand while playing the melody with the right. Here's another example of a solo accordionist playing choro applying modern harmony to the well know 'Lamentos' by Pixinguinha. Enjoy Olivio Filho's rendition of 'Lamentos'



In the studio group used by Jacob do Bandolim for recording sessions during the 1950s one of the accompanying musicians was an accordionist (- from time to time it was Orlando Silveira), who also had a solo spot on one of Jacob's hits, 'Doce de coco', from this period. Here's a contemporary version of 'Doce de coco' as performed by accordionist Chico Chagas accompanied by Nando Duarte on violão de 7 cordas - enjoy!


As mentioned above the accordion - or the sanfona - is used in different music styles all over Brazil. Especially the various North Eastern genres of music from the Pernambuco and Bahia regions are closely connected with the accordion. However, choro also blends in the repertoire of accordionists from this part of the country, here's an example of a master of the forró tradition, Oswaldinho do Acordeon, playing choro



One of the master accordionists known outside Brazil is Sivuca (- from Paraíba, Pernambuco), who excelled in various local genres as well as choro, bossa nova and even jazz. To end this small contribution enjoy Sivuca alone on stage performing his virtuosic version of 'Quando me Lembro', a typically North Eastern flavoured composition



Jo

Paola Picherzky, 18 Choros de Armando Neves

In the vast Brasilian repertoire composed for the solo violão the works of Armandinho (Armando Neves, 1902-1976) stand out as exemplary samples of music that evolve the choro in a most suitable way for the instrument and with a conception of harmony and melody reflecting both nostalgia and modernism. Like the compositions of João Pernambuco the works of Armandinho have been almost unknwon by the public for decades. The cd shown above, however, reestablish Armandinho among the great composers of choros for the solo violão containing 18 examples of his works within the genre as arranged and played by Paola Picherzky.

Paola Picherzky, who is a member of the higly estimated erudite guitar quartet Quaternaglia since 2007 and a professor of the violão at the Faculdade de Música Santa Marcelina, São Paulo, has researched and transcribed Armandinho's choros for solo violão, and the recorded 18 examples are extremely well executed and a sheer pleasure to be listening to, very balanced and further a top audio quality production - a highly recommended cd that finally may open the ears of the public for the music of Armando Neves. Click on picture of cd to see tracklist and learn more about Paola Picherzky from profile at MySpace and from the website of Quaternaglia.

Armando Neves (Armandinho) (1902-1976) is one of the most important figures of choro developed in the city of São Paulo. Learning to play the violão by ear, he never learned music theory. Initially a soccer player, he worked as a professional for Ponte Preta and Guarani. When he switched to the Corinthians he was relocated to the city of São Paulo, and in 1919 abandoned soccer. In that city, he studied violão with his brothers, José Matoso and Joaquim Matoso, and in 1926 with Larosa Sobrinho. Musically illiterate, his gifted intuition allowed him to write sophisticated compositions.

In 1926, Sobrinho took him to Rádio Educadora Paulista, where Armandinho formed the first regional of the city of São Paulo. The group participated in the first radio broadcast between Rio and São Paulo that year. The next year, he joined 'Os Turunas Paulistas', a group led by violão virtuoso Canhoto (Américo Jacomino) who was considered the best of the period. In 1928, he performed with João Pernambuco, João dos Santos, Levino da Conceição, and others. In this year he assumed direction of the Rádio Record group, remaining there until 1956, a period when the radio enjoyed local projection. In 1930 he played for Paraguayan virtuoso violonista Agustin Barrios and recorded two 78 rpms through Parlophon with Larosa Sobrinho. An accomplished accompanist, Armandinho recorded just one solo album, a 78 for Decelith, in 1938.
(Info excerpted from a profile by Alvaro Neder in AMG)

To end this entry I insert three examples of choros composed by Armando Neves, here performed by Ovidiov, the first video featuring the best known of Neves' choros, 'Choro no 2'



The next choro performed by Ovidiov is 'Choro no 3' by Armando Neves



The final video this time features Ovidiov playing the choro 'Gurú' by Armandinho Neves -enjoy!



Jo

In Memoriam Jacob

Next week choro societies and choro musicians in Brazil and the rest of the world will commemorate the sad fact that it is 40 years since the passing away of Jacob Pick Bittencourt, aka Jacob do Bandolim (February 14, 1918 – August 13, 1969). Like Pixinguiha, Jacob do Bandolim has become an icon in the field of choro representing the best in this Brazilian music tradition. Jacob's achievements as a musician, composer and spokesman in favour of the virtues of the original music tradition in Brazil, notable the choro, are beyond the possibility of describing justly in a few words here. If you are new to choro and the tradition of this important musical field of Brazilian culture, one of the main figures representing these aspects in headlines certainly will be Jacob do Bandolim. A short biography and career profile is available by clicking here .

For extensive and detailed information on the legacy of Jacob do Bandolim I'll point serious readers to the website of Instituto Jacob do Bandolim that has maintained a magnificent work to preserve and inform about all relevant issues regarding Jacob (- in Portuguese only, unfortunately). - Another Brazilian resource web, Músicos do Brasil, also has detailed and relevant info on Jacob do Bandolim.

The obvious way to commemorate an artist like Jacob do Bandolim is to play his music, of course. I found an uploaded video at YouTube showing still photos from the life and career of Jacob, the accompanying sound track includes Jacob's voice and the title track audio of his best selling album, "Vibrações" from 1967, featuring Jacob and Época do Ouro

Since Jacob's passing away choro has had a great revival in Brazil and countless musicians have refined their skills and drawn inspiration from the music of Jacob do Bandolim. Below I'll insert a couple of video fragments showing that the legacy of Jacob lives on and is taken good care of by devoted musicians. - First, here's a rendition of the choro "Diabinho Maluco" perfomed by Joel Nascimento - Bandolim; Maurício Carrilho - Violão 6 Cordas; Luiz Otávio Braga - Violão 7 Cordas; Jayme Moraes - Cavaquinho from a Brazilian TV program paying tribute to Jacob do Bandolim (- probably from the mid-1970s)

The most famous composition by Jacob do Bandolim probably is his "Noites Cariocas", here performed by Hamilton de Holanda (bandolim) from a live recording at Radio America recently

One of the great achievements by Jacob was to put the bandolim into the spotlight as a solo voice in choro, his recordings point listeners to the high level of performance demanded from both the soloist and the accompanying musicians. However, performers of other instruments than the bandolim also have drawn inspiration from the playing of Jacob. Here's an example of the young virtuoso of the violão, Alessandro Penezzi, performing Jacob's "Velhos Tempos" in great interplay with arranger and pianist, Laércio de Freitas, from a TV hommage to Jacob do Bandolim

Finally, as an amateur guitarist I was thrilled to view a solo guitar interpretation of Jacob's "Noites Cariocas" by Daniel Nikolas Wirtz from a live performance, a great arrangement and execution of the tune to end this small commemoration of Jacob do Bandolim

Jo

Guitar Works Of Garoto

Towards the end of his career and short life Garoto (Anibal Augusto Sardinha, 1915-55) devoted his talents to composing music for the solo violão in between other works. Luckily, this material as performed by the artist himself has been documented through the private recordings made by Garoto's friend and admirer, Ronoel Simões, finally available on a cd issued 2006 by the German Chanterelle company (CHR 006) containing all of the recordings made between 1950 and 1954. You can read more about the cd here

In 1991 a cd by classical guitarist Paulo Bellinati was issued by the American GSP Recordings containing the guitar works of Garoto (GSP 1002), transcribed and performed by Bellinati in a most convincing production, highly recommended. The cd and the the transcription scores are still available from GSP Recordings and online retailers.

The guitar works of Garoto may be considered semi-classical contributions and have especially appealed to classical trained musicians thanks to the transcriptions in written music made available by Paulo Bellinati. I found some examples at YouTube documenting the fact that Garoto's guitar works are taken good care of and performed with due respect to Bellinati's transcriptions by classical guitarist Denian Arcoleo. Learn more about Denian Arcoleo from his official website, click here

The first example of Denian Arcoleo performing is Garoto's "Tristezas de um Violão", also known as Choro Triste No. 1



The next video features Deinian Arcoleo performing Garoto's "Meditação"



Finally, the last video this time has Denian Arcoleo performing Garoto's waltz "Naqueles Velhos Tempos" - enjoy!

Jo